Haunted MTL Original – Dust To Dust – Tain Leonard-Peck
“Dust To Dust”(A POC Reimagining of Lovecraft’s The Colour Out Of Space) by Tain Leonard-Peck
A chill wind blew through the night. Tusculana shivered, despite herself– her entire life had been spent in the Siberian cold, but for some inscrutable reason, this night amongst all others tore into her bones, the cold soaking into her as water into flour. It was rare to walk at night, but the circumstances of the day made it necessary: the Red Army hunted in the forests, searching for ‘anti-revolutionaries’– code for anyone who opposed their tyranny. The anarchists and the White Russians did what they could to protect the people from them, but the Leninists were legion.
It was pleasant enough, at least, the unnatural cold aside. Wandering the taiga like this felt pure, right. As it should. The Yakut had called Siberia home long before the Rus had even crossed the Urals, and they would call it home long after other nations had crumbled. She squinted in the darkness, trying to drink in every bit of ambient light. A shape resolved itself in the distance– a log cabin, small, high windows reflecting a hint of starlight. No fire within, no smoke from the chimney…it would be a safe enough refuge for the night. Any luck, and no snow would blow in Tusculana’s sleep.
The sun rose. The harsh light tore at Tusculana’s eyes– and then, a skull-crushing boom rattled her ears. She bolted away, staring out the window as the false sunlight waned to a mere pale glow. Her ears rang. This needed investigation; it could be an artillery attack, and a wildfire could be ripping its way towards her right now…
Despite the urgency of her situation, Tusculana could not help a certain sluggishness as she rose to her feet. Wiping sleep from her eyes, she took a knee, slowly untying and retying her bootlaces, ensuring they’d be good and tight for her expedition.
She pushed through the door. An unforgettable scene greeted her. A sea of trees, knocked over like children’s toys, smoking and smoldering in the now ruined earth. Ash and dust and fog blanketed the landscape, not fully obscuring sight, but veiling just enough to leave a constant sense of unease curling up the spine. And in the distance, far off, was the glow. Pale, grey, cold, like the light of dawn…yet, the moon still shone high in the sky, no where near close to setting– hours before it even reached its zenith and began its cool descent. Tusculana felt that same shiver come over her, a primordial response to something that was out of place. Something that should not be there.
Onward. The chill grew, accompanied by an unpleasantly sweet, cloying scent– another bit of evidence that something was amiss. The fog, though, began to clear, like a shroud was being lifted off the world, or a bandage off a wound, revealing the carnage beneath. The pale glow grew in strength, and the entire ruined forest was cast in its baleful light– the usual blacks and whites of night-vision replaced with shades of luminescent grey. Tusculana rubbed at her eyes. It felt like something was crawling on them– but, such an odd sensation was more likely than not just an overreaction, or maybe a response to the dust kicked up by whatever had caused all this destruction. Tusculana tried to quiet her imagination and focus on what was in front of her.
An edge came into view. Not the horizon. A crater, torn into the earth. The grey glow grew stronger, inexorably, as she approached the crater rim– curiosity dragging her on. A cacophony of questions swirled through her head, even as her eyes started to ache. Closer to the point of impact, the trees had begun to crumble– not just knocked down, but disintegrating, breaking down into fine dust. Everything was seeming to dissolve, the trees, the rocks , the snow even the air itself. Beneath her feet, all was fading into grey. Every footfall was muffled as Tusculana’s boots sank into the dust– grey, like everything else there. It glowed. It all glowed. Tusculana had been thinking of the eerie shade as grey, but that wasn’t the right word. Pale fit better, but that alone could not properly describe the colour invading her eyes, the colour sinking its tendrils into the forest. The crater’s edge was right there. Tusculana cast a glance down, to the dust. She couldn’t tell where the mass ended and her legs began. The pale light shone through her retinas like spears, a throbbing pain, echoing through her skull. Her legs were gone, now. She stumbled, falling into the dust face first– bitter and sour and hot on her tongue. The edge was there. She reached out a hand to grasp it. Her flesh was grey, now. Crumbling. With one great pull, she dragged herself over the edge.
Tusculana was gone. All that remained was oddly coloured dust.
Tain Leonard-Peck writes plays, poetry, and fiction, paints and composes music. He’s a competitive sailor, skier, and fencer. He currently lives on a family farm on Martha’s Vineyard, but he’s lived all over the world as well. He knows how to construct his own laminar flow hood, knit his own blankets, and haggle for flowers on five continents. He thinks the world is a place of wonders, and he loves traveling to see more of it. He has lived in caves, dived with sharks, and not been defenestrated by a temperamental donkey named William Shakespeare. He is frequently bitten by geese.
Those religious icons really get around. This time it’s a journey to visit the Deep Ones. And Dracula’s Castle. Because everyone has to be a tourist now and then, and what’s the point if you don’t pick up a souvenir or two?
This was a gift for a friend for their sea life monster theme bathroom. It started as one of those old school wood plaques where the picture is waxed on. And the eyes were originally that creepy – all I did was add the tentacles. So don’t blame the overall weirdness on me, it wasn’t all my doing.
Oh, and apparently Mary wanted in on the action, so she’s gone to Dracula’s Castle for a bite. She even brought back her own religious icons souvenirs…
So this one isn’t as old, nor is it real wood. But it still totally goes with Mary’s journey. And it’s also a little blacklight reactive with the flowers.
And feel free to check out more of Jennifer Weigel’s work here on Haunted MTL or here on her website.
So I just keep on going… Here are some more repaint porcelain figurines and other madcap painting. OK maybe some of them aren’t porcelain, but still totally redone.
This Pennywise clown started as some plastic figurine from Italy. I was drawn to this because of the pretty marble base. It’s a nice touch, don’t you think? I’ve seen others in this series and honestly they’re all kind of creepy to start with, so they really lend themselves towards repaint prospects. Perhaps I’ll pick up more to redo in similar ways later on… Oh, and the eyes are blacklight sensitive, in case he wasn’t creepy enough already.
With all of the new movie hype, I couldn’t resist a throwback to the classic Beetlejuice, and this little bride figurine and teddy bear were just too perfect. Featuring more blacklight sensitive accents, like her veil flowers. And I don’t know why she only has one glove, I blame it on the 1980s… Or maybe she was just that drunk (you’d have to be for that wedding)…
So yeah, all those preppers ready for the zombie apocalypse – you know some of them are gonna get bitten. It’s in the script, what can I say? More blacklight eyes, cause why not?
I admit I haven’t seen this film, but it sure looks fun. Mathilda, eat your heart out. Literally.
OK so this isn’t a repaint. Nor is it porcelain. What is it even doing here? Well, she’s cool and ready for a party and kinda reminded me of Abigail, so she sort of just tagged along. Sexy Sadie started as an Avon perfume bottle with a fragrance I didn’t care for (I think it was called Head Over Heels). Because honestly the bottle topper was all that mattered. And now she has her own disco dancing platform. What more could a vampish vixen want?
And feel free to check out more of Jennifer Weigel’s work here on Haunted MTL or here on her website.
I wrote this script for Beyond the Veil awhile back, exploring the bond between two twin sisters, Edith and Edna, who had lived their lives together. There was a terrible car crash and someone didn’t make it. The other is trying to contact them beyond the veil…
Beyond the Veil Setting:
Two women reach out to one another individually in a séance setting.
One sits on one side of a dining table. The other sits at the other side. Each studies a candle just beyond her reach; there is darkness between the two candles. The long table is barely hinted at in the interstice between the two but it is clearly present.
The camera is stationary showing both in profile staring through each other.
The women are both portrayed by the same actress who is also the voice of the narrator, who is unseen. All three voices are identical so that it is impossible to tell which of the two women the narrator is supposed to represent.
Both women are spliced into the same scene. They are together but apart. The two candles remain for the duration of filming so that the two halves of the film can either be overlapped (so that both women appear incorporeal) or cut and sandwiched in the middle between the candles (so both women appear physically present). It is possible to set the scene thusly using both methods in different parts of the story, with both women seemingly flickering in and out of being, both individually and apart.
Script:
I. Black, audio only.
Narrator:
I was riding with my twin sister.
We were in a terrible car crash.
The car drove over the median and rolled.
It spun off the road where it caught fire.
There was smoke everywhere.
My sister didn’t make it.
II. Fade in to the long table with two lit candles; flames flickering.
Two women are just sitting at either end.
They stare blankly through each other.
Call and Response
Edith: Now I’m trying to contact her…
Edna: …beyond the veil.
Simultaneous:
Edith: Edna, do you hear me?
Edna: Edith, do you hear me?
Together (In Unison):
If you hear me, knock three times.
Narrator:
Knock.
Knock.
Knock.
Call and Response:
Edith: I miss you terribly.
Edna: I miss you so much.
Edith: Do you remember…
Edna: … the car crash?
Edith: We rolled…
Edna: … over the median.
Edith: There was fire.
Edna: There was smoke.
Edith: I could hear the sirens.
Edna: They were coming…
Edith: … to rescue us.
Edna: But they were so far away.
Edith: So far…
Edna: … away….
Simultaneous:
Edith: Are you okay?
Edna: Are you hurt?
Together (In Unison):
Knock three times for yes. Knock once for no.
Narrator:
Knock
– pause –
Knock
– pause –
Together (Syncopated):
What’s it like, on the other side?
– long pause –
Simultaneous:
Edith: I miss you, Edna.
Edna: I miss you, Edith.
Together (Syncopated):
It’s so lonely here.
Call and Response:
Edith: There’s no one here.
Edna: I’m all alone.
Edith: Without you…
Edna: …the spark of life…
Edith: …is gone…
Edna: … so far away.
– pause –
Together (Entirely Out of Sync):
It’s so dark.
III. Fade out to black
Narrator:
I was riding with my twin sister.
We were in a terrible car crash.
The car drove over the median and rolled.
It spun off the road where it caught fire.
There was smoke everywhere.
I didn’t make it.
I had planned to actually turn this into the video for which it was written, but quickly discovered that my plans for recording required a space that was too drastically different from my new house (and new large gaming table) and that my vision for filming could not be well-fully executed or realized. So now it exists as a script only.
And feel free to check out more of Jennifer Weigel’s work here on Haunted MTL or here on her website.
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